BroadwayRadio: This Week on Broadway – November 16, 2025

Episode Theme: Reviews & Reflections – "The Baker’s Wife" at Classic Stage Company, "Purple Rain" Pre-Broadway Tryout, and More

Episode Overview

This episode brings together host James Marino and panelists Peter Filichia, Michael Portantier, and special guest Alex Lauer for an in-depth conversation about the hottest Broadway shows, with a major focus on the Classic Stage Company's production of The Baker’s Wife. The team also reviews the pre-Broadway tryout of Purple Rain in Minneapolis, the state of jukebox musicals, critical darlings and flops, and highlights audience reactions, memorable performances, and behind-the-scenes insights within the vibrant contemporary theater landscape.

Panelists

• James Marino (Host)
• Peter Filichia – Playwright, journalist, and historian
• Michael Portantier – Theater reviewer, CastAlbumReviews.com editor, and theatrical photographer
• Alex Lauer – Journalist (Inside Hook, One Fan Show, Twin Cities theater blogger), special guest

Episode Highlights & Segment Timestamps

1. Ticket Stub Nostalgia & Theater Ephemera (02:23)

• Peter Filichia discusses the charm and collectability of old ticket stubs versus today’s digital tickets.

• Reflections on how show ticket prices used to be shockingly low—"$25 or less, even for something like 'The Frogs' at Yale at $5" (03:00–03:30).

• Adrian Bryan-Brown is mentioned as a collector and poster of vintage stubs.

• Transition to “Show Tune of the Day”: Flying Over Sunset and its LSD-inspired history in musical theater (04:03).

  "People used to tear tickets and you'd have ticket stubs. ... None were higher than $25, and 'The Frogs' at Yale was $5. Those were the days." — Peter Filichia (03:00)

2. Spotlight: An Evening with Len Cariou (05:25)

• Michael Portantier previews the upcoming December 16 “An Evening with Len Cariou” at Laurie Beechman Theater.

• Discussion about Len Cariou’s career and his reputed relationship with Lauren Bacall during Applause.

  "He had some kind of relationship with Lauren Bacall while they were in 'Applause.' I think that's kind of interesting." — Michael Portantier (07:21)

3. Guest Segment: Alex Lauer Reviews "Purple Rain" Pre-Broadway Tryout (08:21–19:18)

Alex’s Deep-Dive Critique (09:24–19:18)

• The opening number’s hyper-literalism ("a purple banana lyric = actor carrying a purple banana") draws unfavorable comparison to the Bob Dylan musical The Times They Are A-Changin’.

• Major structural changes from the movie: the abuse story is now via projections rather than onstage action; this is "a huge missed opportunity." (11:00)

• The music, supervised by Jason Michael Webb of MJ the Musical, is a highlight—authentic, rocking, and effective even with a small (7-piece) band.

  "This essential element that explains why the kid acts the way he does... is basically relegated to a projection. And so you might be wondering about the music…" — Alex Lauer (11:00)

• Rachel Webb (Apollonia) shows star potential, but is underserved by weak material.

• Jared Howilton (Morris Day) “a comedic tour de force”—ironically, his applause dwarfs that of the lead. (15:00)

• Key Critique: The book (by Brandon Jacobs-Jenkins) is full of "clichés, anachronisms, clunky exposition, and an After School Special quality." (13:45)

• A pivotal late scene about trauma and redemption is resolved superficially, undermining emotional stakes:

  "Jacobs-Jenkins wraps up with the message: hey, we've all got problems. ... the kid's problems weren't actually worth exploring for the last two hours and 45 minutes." — Alex Lauer (18:33)

Twin Cities Reaction and Industry Reception (20:57)

• Post-opening, ticket sales lagged despite much pre-show excitement.
• Local word-mouth is underwhelming; no critical or audience surge after reviews.
• James Marino notes the movie’s middling box office compared to the soundtrack’s massive success.

4. Review: The Baker’s Wife at Classic Stage Company (22:09–27:56)

Peter Filichia’s Enthusiastic Review (22:24–27:56)

• The production is vibrant, visually striking (Classic Stage’s brick walls transformed).

• It’s at its best as a small, intimate musical—"It is a small story." (23:45)

• Scott Bakula and Ariana DeBose star as the Baker and his wife: "DeBose brings a slightly more contemporary quality; Bakula is fine as the older man."

• Schwartz's "French-infused" score is a triumph, notably the song "Gifts of Love."

• Director Gordon Greenberg’s experience at Paper Mill and London’s Chocolate Factory contributes finesse.

• “Audience members were literally pulling out handkerchiefs.” (End of 22:24 segment)

  “This is one of those things you’d want to see ten nights in a row… The score is so terrific. …It’s a shame this will be the end of its run at Classic Stage; it deserves so much more.” — Peter Filichia (22:24–27:56)

• Notable character actors in the ensemble (Bob Cuccioli, Judy Kuhn) shine.

Critical Response Debate (29:16–30:02)

• Michael Portantier notes the show received a perfunctory review in the NYTimes, while other, less warmly received productions have been critical darlings.

5. Review Roundup: The Queen of Versailles at St. James Theater (30:46–35:20)

Michael Portantier’s Mixed Impression

• Act 1 is "interesting and entertaining," Act 2 "fell apart."

• Central issue: Show fails to establish a point-of-view on its main characters and their obsession with wealth.

• Unclear thematic resolution for the lead character; audience response "grew more tepid as the show went on."

  “At the end of Act 1, I was astonished at how bad the reviews were. …and then everything fell apart in Act 2.” — Michael Portantier (30:46)

6. Solo Performance Sensation: "Weir" at Cherry Lane Theater (36:07–39:58)

Peter Filichia’s Praise for Natalie Palamides

• Palamides delivers a tour-de-force with rapid dual-gender role swapping, a gripping narrative, and exceptional vocal work.

• Participatory moments delight the crowd.

• Cherry Lane’s renovations highlighted; the show is selling out and merits awards attention.

  “One of the great surprises of the season... It is hilariously funny... and I dare say when awards time comes, this name is going to come up.” — Peter Filichia (39:58)

7. Romy & Michele: The Musical at Stage 42 – A Flop (41:00–54:10)

Michael Portantier’s Sharp Critique

• “One of the worst scores I’ve heard in a long time in any new musical anywhere.” (41:00)

• Over-the-top, cartoonish staging; dream/fantasy sequences are hard to decipher.

• Notable cast includes Laura Bell Bundy (Romy) and her controversial accent.

• Audience enthusiasm wanes rapidly.

• Production logistics: Actors move all set pieces; speculation about potential union/labor rationale (ultimately debunked by James).

  “If you have an audience that wants to love what they’re seeing, but what you’re giving them is so poor that they can only muster tepid applause... that’s a really bad sign.” — Michael Portantier (41:00)

8. Archduke at Roundabout’s Laura Pels Theater (55:27–59:14)

Peter Filichia’s Take

• Story of would-be assassins before the Sarajevo killing of Archduke Ferdinand; play takes creative liberties.
• "A fine production, everybody is quite good," especially Patrick Page (“the Barry White of the theater”).
• Set design lavish, perhaps overinvested for a fleeting scene.
• Parallels drawn with radicalization arcs in Ragtime.

9. Tribute: Remembering Elizabeth Franz (59:49–63:06)

• Michael Portantier commemorates the late actress, recalling her transformative performances in Death of a Salesman and Brighton Beach Memoirs.
• Video of Death of a Salesman (with Brian Dennehy) is praised as "the best" version and is available on YouTube.

10. Special Musical Moment: Fiddler on the Roof at Signature Theatre, Arlington VA (65:48–74:42)

Michael Portantier’s Reflections on Fiddler (65:51–73:40)

• Recently saw three productions; Fiddler remains "an absolute masterpiece."

• Signature Theater production is "extremely successful on its own terms," presented fully in the round.

  “What other show is that great that you can honestly say you wouldn’t tire of seeing three different productions in four months?” — Michael Portantier (65:48)

• Innovative minimalist staging around a communal table; strong cast led by Douglas Sills (Tevye) and Amy Bermowitz (Golde).

• Only cavil: a modern-dressed female fiddler "misses the metaphor" of the original.

• Calls for New Yorkers to travel to Arlington to catch this "classic, gripping" performance.

Musical Numbers:

• "Tradition" (Signature Theatre Cast Recording; opening/closing the episode)

Notable Quotes & Memorable Moments

• On jukebox musical pitfalls:

  "If you're translating Bob Dylan songs for the stage and you can't think of anything else but to go hyper-literal, you're probably in trouble. And I think the same is true for Prince." — Alex Lauer (09:24)

• On swirling audience reactions:

  "People were literally pulling out handkerchiefs [at The Baker’s Wife]. …It’s that good." — James Marino (End of 22:24 segment)

• On the enduring appeal of a classic:

  "What other show is that gripping, great that you can honestly say you wouldn’t tire of seeing three different productions in four months?" — Michael Portantier (65:48)

Quick Reference: Key Shows Discussed & Timestamps

| Show Title | Segment Start | Panelist Reviewer | |-------------------------------------|---------------|----------------------------| | Purple Rain (Pre-Broadway) | 08:21 | Alex Lauer | | The Baker’s Wife (CSC) | 22:09 | Peter Filichia | | The Queen of Versailles | 30:46 | Michael Portantier | | Weir (Cherry Lane) | 36:07 | Peter Filichia | | Romy & Michele: The Musical | 41:00 | Michael Portantier | | Archduke (Roundabout/Laura Pels) | 55:27 | Peter Filichia | | Fiddler on the Roof (Signature DC) | 65:48 | Michael Portantier |

Final Takeaways

• The Baker’s Wife is the unmissable hot ticket of the week—emotional, intimate, and full of "French-infused" musical brilliance.
• The Purple Rain pre-Broadway tryout, though boasting fine musicianship, suffers from a weak book and unresolved dramatic tension.
• The panel laments jukebox musical weaknesses, celebrates great solo performance work, and wrestles with the challenge of finding the “right” show for tricky venues.
• Fiddler on the Roof continues to demonstrate its universal and enduring power, moving seasoned critics to tears—even after repeat viewings.

Listen for detailed show-by-show critiques, audience perspective, and theater lover camaraderie—essential for Broadway aficionados and newcomers alike.